Oscar Isaac is riveting in the title role — and not just because he spends an inordinate amount of time in his underwear displaying distracting flanks (attention: Calvin Klein marketing). He inhabits and invigorates the troubled young prince; he talks and talks and talks and often makes new, lines that can carry a shopworn familiarity
The cataclysm that shocks the audience into intermission is stunning. I won’t spoil if for you but will say as the audience recovered there was a rush to Google the horrific event that shook the room and changes everything. It leaves you longing for act 2.
There’s nothing wrong with The Traveling Lady but there is little bite to it, little memorable about it, nothing surprising to take away. If you like Horton Foote, you will probably like this one.
Here’s the thing, if you hanker for an edgy, “out there” hour in the Village, this bizarre little Trumpian gag-fest ( andI do mean gag) is your show!
A zebra and a unicorn have a great deal in common but they are not the same. It might be tempting to take the extraordinarily rich and fully staged Groundhog Day currently on Broadway, as a mere remake of the 1993 film. It’s not. The film was a terrific zebra; the Broadway musical, is a kind of unicorn.
The pursuit of the big idea, however worthy, can get tiresome, if not relieved by credible characters, witty exchanges, deft direction, and fine performances. Oslo offers all of that.
Playwright Jason Odell Williams seeks to trouble your sleep with your conscience. Church and State packs surprising philosophical punch dressed as a comedy.
There are two riveting speeches in Bull in a China Shop. They come late in the 90-minute production — the first is capriciously funny; the second brought me to tears.
The evening kicks off in low light shrouding a bed where two young bodies are thrusting enthusiastically, and the room rings with her practiced, orgasmic moans.
Foster is so good at everything, one might miss her deft comedic gifts. Her clowning rivals that of Lucille Ball and Carol Burnett, and Allison Janney. There is a sequence where she hangs over a clothing-rack, eating a sandwich, that blows a sexy seduction scene off the stage.
You may not warm to the characters, but the actors are true north on delivering them. Julia Duffy does more with a glance and a pause that many performers manage with a soliloquy.
I had the good fortune to see the brash and fresh, funny and poignant revival of Falsettos just days after our devastating election. The 2 hours, 40 minutes’ running time proved to be the first weep-free/rage-free respite since Tuesday night.
Among Oliver’s many gifts (remember he is writing and performing these tales) is his ability to lead us into a Dublin alley to pee, to set us up for hilarity, and then suddenly bring us to poignant tears.
John Slattery’s cast as Hildy Johnson, a hard-bitten, underhanded, take-no-prisoners hack. His moments with Nathan Lane are small diamonds in a rhinestone wash of a show.
Where Lord Snelgrave’s prurient interests are prosaic, the reanimation of Lady Snelgrave’s sensuality is bracing. I don’t remember ever having seen a lovely woman of a certain age groped with purpose on a New York stage. It was fascinating.